OPINION

Theater Review: “Just Jim Dale”

Jim Dale is an inspiration. At 78 years old, he has the boundless energy and agility of most people half his age. Sure, his current solo show Just Jim Dale is scripted, but one can’t help but think after watching him perform, that he could spontaneously share any one of his many tales of show business, leaving the listener equally charmed and informed.

This multiple award-winning Brit is currently recounting his extremely eclectic past in Roundabout Theater’s latest off-Broadway offering. As a young teen in London, Dale recalls how he literally “fell” into entertainment when he received his first big break in a music hall variety show as a comedian. It was a fall that took him on a tour around England, into the groovy British music industry, to Hollywood, Broadway, and more recently, into a studio as the narrator of a hugely popular children’s fantasy franchise.

Corny humor is served in field size quantities, but Dale’s persona is so engaging that all is forgiven, and even the most obvious of jokes are made surprisingly fresh. Dale explores the first time he sang the lyrics to “Georgy Girl” (for which he received an Academy Award nomination from the film of the same name) and carries us to the present, recreating a bit about recording the audio books for Harry Potter. Inspired by real life characters and channeling his own creativity, Dale breathed life into over 130 different voices for the series and took home two Grammy awards for his stunning accomplishment. In between, he briefly describes his other successes and admits defeat for endeavors that didn’t quite reach the heights.

The most appealing quality to this 90 minute bio-musical is Dale’s endearing ability to laugh at himself and find the positive edge in an enduring and challenging career. With his affable demeanor and quick delivery, audiences can settle in trusting that they are in fully capable hands with this impeccable showman.

Just Jim Dale plays now through August 10th. Off-Broadway at the Laura Pels Theater 111 West 46th Street between 6th and 7th avenue. For tickets, go to the box office, call 212-719-1300, visit www.roundabouttheatre.org,

Vicious’s Bite Is Delightful

by Michael Tyminski

Vicious: Sundays at 10:30 Eastern on PBS (Check your local listings)

No need for a double take, I am actually reviewing a new PBS show. While typically PBS skews a little more highbrow or educational than what most of my readers typically want to see, when I found out about Vicious I knew I had to make an exception to the rule because anything starring Ian McKellen will trump pretty much anything else, including an HBO series premiere happening concurrently (if I have time this week, I will try to pick up The Leftovers during the week). British comedies have traditionally had a strong cult track record in the US (PBS in particular being a key importer of the subgenre) so it should be interesting to see how Vicious translates as it moves across the pond.

Vicious is a multi-cam comedy about two longtime romantic partners Freddie Thornhill (Ian McKellen) and Stuart Bixbi (Derek Jacobi) trying to age gracefully while sharing the same London flat for a half century. With both men well beyond retirement age, their free time is mostly spent entertaining guests and slinging the most caustic invective possible at each other. The two are surrounded by a small clique of other elderly friends, and Ash, their considerably younger twenty-something neighbor.

So how is Vicious? Well starting with the obvious, it’s an incredibly snarky show, and it’s the sort of show that truly succeeds at it’s barbs. In a TV environment where barb-loaded multi-camera shows often swing and miss (Whitney and Friends with Better Lives both come to mind) for it’s barbs to feel not only funny but also unforced is a refreshing change. It often does that by layering the causticness on top of the delusions of much of the friend circle, whose swollen egos make for a sufficiently juicy target for the sniping that comes later.

None of this however, succeeds without McKellen and Jacobi, who completely succeed at being an old, married couple. The two are often at each others throats, but it becomes clear in the end that while a half-century of familiarity brought a ton of contempt, one doesn’t just stay with someone for that long without actually caring about the other person in the relationship. Furthermore, both actors’ theater background is put to good use as Vicious gives them room to truly ham up and vamp a little bit, which only helps to embellish the slams that are central to the show. It is in radiating out from McKellen and Jacobi that Vicious finds it’s groove and clearly the best angle for a show that doesn’t really do B-plots.

There are some very important structural issues that hold Vicious back though. This is particularly notable whenever the full cast happens to occupy a scene such as tonight’s wake: everyone (Ash excluded) seems to operate as the same exact level of acidity, leading to instances where everyone aside from the central pairing gets drowned out. The plotting also seems fairly threadbare at points, with the show often meandering or circling on it’s punchline-laden asides just a tad too much.

The Final Verdict: Vicious is an exemplary execution of the multi-camera sitcom. It doesn’t necessarily add anything new or revolutionary to the format, but instead simply works because it’s central pairing is better than pretty much any central pairing on this side of the pond. I’d recommend checking it out, with it easily entering must watch territory if you’re into McKellen or very biting comedies like Veep.

Rising Star Doesn’t Quite Break Through

by Michael Tyminski

Rising Star: Sundays at 9 Eastern on ABC

We’re at a weird point in the life-cycle of the competition show. Many of the original mainstays of the genre (American Idol, Dancing with the Stars) are clearly on the decline of their life cycle. However, The Voice aside, it’s not like there’s a ton of new competition shows that are ready to plug those holes in the schedule (X-Factor flopped, The Sing Off works best as a limited format). The end result is a genre that seemed like it was slowly finding it’s way off of prime-time schedules. However, much like the miracle NBC found with The Voice, this time it’s ABC living on a prayer with it’s newest show: Sunday night’s Rising Star.

So how does Rising Star stand out from the numerous other singing show’s we’ve seen before? Well to begin with the audition process isn’t too far removed from The Voice’s: 90 seconds, blind to the judges, and it’s on the contestants to impress. Where Rising Star is different is that it factors America into these auditions: instead of one judge looking to put you on their team, 70 percent of voters need to like you in order to raise the wall and move on to the next stage. Having a disproportional weight (each judge can boost your total by about 10 percent) are the show’s three music experts: Brad Paisley, Kesha, and Ludacris.

So how does Rising Star play out? Well it’s main conceit is somewhat misleading, as it seems extremely difficult to make it to the 70 percent threshold without the support of at least two if not all three of the experts (one contestant squeezed by on the backs of two of three judges – Ludacris is by far the toughest of the three to please). However, the experts have the correct interplay with tons of prodding (especially by Brad in Ludacris’s decision) that It also seems to be busting out its gimmick chest a touch early, with surprise audience auditions being busted out in the very first episode.

Rising Star does ace a lot of the little graphical things, having an incredibly slick look. The video wall the contestants perform behind is visually impressive, and the show busts a staggering array of camera angles over the course of the two hour premiere. Additionally, Rising Star put a ton of variety in its’ acts, putting classic rockers, boy bands, country acts, conventional pop acts, and even opera behind it’s video wall.

Weirdly enough, despite having shown solid comedy chops on Tim and Eric Awesome Show, host Josh Groban struggles as the show’s host, often creating at least one awkward moment per segment. This, combined with an often off-kilter sense of the moment (Groban struggles when the situation calls for a more bombastic voice – oddly enough he would work much better in the experts’ chair I think) create a mildly disorienting experience that will make competition show fans pine for a Carson Daly/Ryan Seacrest type. Where there is hope for Groban is in the pre-recorded video segments, as he does seem like he has a genuine interest in the contestants work.

The Final Verdict: Rising Star is the sort of show that has some clear strengths (it’s pretty, it’s experts have the same sort of rapport that brought The Voice to prominence) and some clear weaknesses (Groban’s live hosting, the format doesn’t add anything to a played out genre). The end result is a show that seems fine as an off-season fill for Voice junkies but this show is doomed even if it goes up against the slumping Idol. Check it out if you really need a fix for singing shows over the summer, if not wait and see – this can be much better show if Groban ultimately becomes more comfortable in the host’s role.

Theater Review: “The Killer”

by Ryan Leeds

If you want to know what ruthless, random murder looks like, head to the Polonsky Shakespeare Center in downtown Brooklyn. Here , you will find a mesmerizing Michael Shannon confronting an unconscionable killer (Ryan Quinn) in a phenomenal staging of Eurgene Ionescos’s The Killer.

You’ll have to wait about two hours and fifteen minutes for the final showdown in this three-hour absurdist piece, but under Darko Tresnjak’s direction, each moment will be engrossing and captivating. Shannon stars as Berenger, a moderately laid back soul who has discovered the perfect city. He congratulates the architect (Robert Stanton) on building what he deems “A miracle” and a “wonder of science”. As Berenger rambles on, the conciliable creator of this “beautiful and magnificent ” town continues taking calls on his portable phone, conveniently located in his suitcoat. (Who knew how prophetic Ionesco’s use of technology would be when he created the play in 1957! )

It is only after moving into this perfect Utopia when Berenger discovers that a cold-blooded killer is on the loose in his town ; A killer who is seducing and drowning his victims in a lagoon. Each day, more victims are taken but the police are reluctant to take any action. Berenger cannot leave and is ultimately left to confront the face of evil by himself.The final portion of the show is a true triumph . Shannon pummels through an insurmountable amount of dialogue, most of which question the murderer’s motives and our collective sanctity of life. The killer’s only knee-jerk response is a repetitive sinister chuckle.

The always daffy and enjoyable Kristine Nielsen provides some refreshing quirkiness. First, as the concierge of Berenger’s apartment and later as Ma Piper, a charismatic politician who is leading a brainwashed flock of geese towards a country where there is “free soup for everybody!”

Tresnjak deservedly just nabbed his first Tony Award for Broadway’s A Gentleman’s Guide to Love and Murder and has brought his same artistic flair to The Killer. This gripping and meaty drama will be well worth the time invested and is a must see for anyone interested in a superior night of theater.

The Killer is now playing through June 29th at Polonsky Shakespeare Center, 262 Ashland Place between Fulton Street and Lafayette Ave. Brooklyn, NY. For tickets, call 212-229-2819 or visit www.tfana.org

Theater Review: “The Anthem”

by Ryan Leeds

It’s difficult for source material to be taken seriously in a theatrical setting (or any setting for that matter), when a disco ball is present. It’s even more challenging for sincere points to be made when the costume designer shrouds the cast in sparkling silver bodysuits. To add insult to injury, the giddy Reynolds wrap clan jump around on stage, singing and dancing about the evils of individuality, backed by accompaniment tracks which sound like they were produced in a basement on a 1985 Casio keyboard.

This is The Anthem, a new off-Broadway musical which recently opened at the Lynn Redgrave Theater. The self-billed, “radical retelling of Ayn Rand’s classic novella” tells the story of dystopian leaders, Pandora (Jenna Leigh Green) and Tiberius (Randy Jones) who are hell-bent on criminalizing anyone with individual thought. It is a world where fashion is forbidden, books are bad and romance is wrong.

The Director, Rachel Klein, notes that she wanted to bring a feeling of Hunger Games and Xanadu to the piece. This would work if it a had a consistent tone. Yet it never finds it’s footing. If it is meant to be campy, it needs to be more pronounced. If drama is intended, it’s too over-the-top.

Metal poles on the corners of the stage allow for some impressive displays of athleticism by some incredibly competent cast members, but these do nothing to add to the story. It’s almost as if the director randomly said, “Hey! I feel like this show needs some circus acts”- and no one questioned it. Impressive? Yes! Relevant? Not really.

The theme of a repressive police state is by no means a new concept, but it can be extremely effective and haunting, as evidenced in Brooklyn by Theater for a New Audience’s current production of The Killer. Here however, reflections from the disco ball blind audiences to the fact that this show is just an irreparable mess.

The Anthem plays through July 6th at the Lynn Redgrave Theater, 45 Bleecker Street. For tickets, call 866-811-4111, ovationtix.com, or visit the box office. Don’t say you haven’t been warned.

Anti-LGBTI “Propaganda”

by Brian Connolly

The Russian Federation outlawed openly advocating any speech “propaganda” in relation to LGBTI topics as propaganda that could damage society. In the wake of this neighboring countries now seem to be following suit. Kyrgyzstan has introduced a similar bill in parliament that would criminalize the promotion of homosexuality. Like in Russia, if passed citizens in Kyrgyzstan could face up to a year of imprisonment for advocating LGBTI issues.

Is this a new wave of anti-LGBTI sentiment, evolving into anti gay propaganda, as long as gay people keep it to themselves they are law abiding citizens?

“The sponsors of this bill define ‘non-traditional sexual relations’ as ‘sodomy, lesbianism and other forms of non-traditional sexual behavior,’” according to the organization. “They justify the amendments as necessary ‘to safeguard and protect the traditional family, human, moral, and historical values of Kyrgyz society.’”

Kyrgyzstan already has a hostile climate towards the LGBTI community and with the potential of this ‘draconian’ bill being put into effect, things look darker for the Kyrgyz LGBTI community. According to the bill those convicted of violating the law would face up to six months in prison and a fine of 2,000 to 5,000 som ($36 to $91). For repeat offenders the maximum sentence would be a year in prison and a fine of up to 6,000 som ($110).

In other ex-soviet satellites, the Ukraine considered such a bill but it was not passed, Moldova repealed a ‘gay propaganda’ law last July, a month after it was enacted and a similar bill is pending in Lithuania.

It appears the ex-soviet sphere is in a decline of human rights and equality for LGBTI communities with ever tightening restrictions on their livelihoods and social-inclusion. So far the Russian Federation has met little to no political opposition regards its law which removes certain human rights and freedoms from a minority of its population.

Will the old Soviet Union reunite under an anti-LGBTI “propaganda” law?

Partnered & Open Relationship Guys on Gay Apps- Yay or Nay?

by Ryan Shea

Open Relationship, Partnered, Manhattan Digest — Credit to: Care2

It is hard to believe that I have been in the gay community for ten years now and have developed quite an understanding of the vast differences and similarities that bring us together but also tear us apart. An issue that remains controversial in our community is the foundation of open relationships and why they seem to cause a lot of stress for single men as well as the ones in the relationships (not all, but some). What tends to increase that is the ever growing presence of men who are partnered or in open relationships on these apps that make it tougher for single guys, like myself, to weed out the ones who just want you in the physical form and find the ones that are genuinely single and want to develop something with you outside of the Smart Phone world that we live in. The thing is that there are many different sides in which how you can process this theory that has many valid points. Take a look below at the several

“Gay apps aren’t dating apps, they are hookup ones so anyone should be able to be on there.”

For some, if not many, this is the case. Apps like Scruff, Jack’d, Growlr and Grindr can be designed for that kind of behavior. Yet others, like myself, can see it as that but also as a way to meet friends, dates and even network with someone for whatever reasons possible. So it should be free reign for all, per se.

“I get really fed up with always getting hit on by partnered or guys in an open relationship, that’s not how I want to be viewed is just a side thing.”

This is something that I myself have dealt with. Most recently I was talking to a guy who kept wanting to hang out with me only to tell me later on that he was concealing a near seven year relationship with someone. I was furious to be lead on that way. There are still a good amount of guys who use these things in hopes that they will find someone, and unless you are open to being just a hook up buddy with someone who is already dating someone else then it really sours the whole “app” experience in the first place. Some people, as my friend Pete put it, want to find someone who inspires us to delete those apps and just focus on that one person, which is something that I agree with.

Then there are the ones who believe this question in the first place is true judgement-

“I’m a firm believer that if you have a kitchen, you shouldn’t eat out at restaurants.”

“I guess my major point is that I’m a firm believer in minding your own business and not telling other people how to live their lives….”

“I’m a firm believer that if you have a toilet, you shouldn’t poop outside on the street.”

“Isn’t this a bit like saying “if you’re a couple, you shouldn’t be going out to the bar(s)?”

These were all responses to a quite harsh post that I put on my own personal Facebook about the ever presence of both partnered & open relationship men on these apps. Granted, if it came off as judgement then so be it, but there is a difference what I perceive to be an opinion versus what is a judgement, which is two different things.

At the end of the day, we should all be on there regardless of what our relationship status, size, color, etc.

“There are hundreds / thousands + men on these apps. They are fully capable of making a decision of whether or not they want to pursue someone in an open relationship or not. And even if they do decide to pursue someone who is taken, there are many other guys on there. Blaming the difficulty of weeding out the guys who aren’t coupled, on those guys, is quite unfair. Especially when the purpose of these apps is defined by each individual user, for friends, dates, sex, whatever. And especially when we start relying solely on apps to meet people.”

Manhattan Digest, Partnered, Open Relationships — Credit to: Nokia Innovations

The above, which was made by a friend of mine, has a good point to it. The main issue that I think all gay men face is this epic struggle of wanting their own opinion or viewpoint validated but at the same time this sense of community in the larger picture of things where we want to be even further validated by the world. So when it comes down to something like the types of men that should be on apps that some perceive to be about dating, some perceive to be about hooking up and some to perceive to be about all of that and in between, it really is all relative. It is up to each individual person to find that particular guy they want to develop something with, no matter what it is, and not let outside voices & what we see in the media influence what we ultimately want.

What are your thoughts on this issue?

Theater Review: “Early Shaker Spirituals”

by Ryan Leeds

Allow me to offer full disclosure: While I consider myself to be well versed in drama and performance and have an insatiable appetite for all things of the stage, experimental theater is not within my scope of knowledge, nor one of particular passion. Ok. I can hear the gasps and feel the icy stares of disapproval! Settle down thespians and please don’t burn me the stake. After all, I am just one meagre reviewer who is entitled to his own opinion. Unless I encourage you to slap on a pair of Nike sneakers and join me as we follow comet Hale-Bopp, you can remain certain that my writing is nothing more than one person’s reflection.

Wooster Group, the famed experimental theater company, is currently providing audiences with a sliver of Shaker life with their record album interpretation of Early Shaker Spirituals, also the show’s title. The actual album is a 1976 recording of the United Society of Shakers from SabbathDay Lake, Maine. Shortly after it hit shelves, it rivaled Queen’s “Bohemian Rhapsody” for Billboard chart topping placement. All jokes aside, these hymns of faith were sung by a quartet of staunchly religious women. The Shakers were primarily known for their beliefs in the second coming of Jesus Christ, shunning worldly pleasures, and a simple manner of living.

In this hour long performance, Cynthia Hedstrom, Founding artistic director Elizabeth LeCompte, Frances McDormand, and Suzzy Roche sit center stage, dressed modestly in plain dresses, and listen to the album through an earpiece. While the audience does not hear the recording, the actors can hear it-and they sing along with the music, imitating each vocal phrase through 20 of the album’s 40 songs. The staging is minimal and it is certainly void of any fanfare. Quite the opposite, actually, as the songs provide meditative and pensive reflection to an earnest and devoted religious sect. Later, the women are joined in song and dance by Bebe Miller and four hipsters, who perform upbeat and joyous versions of the spirituals. There certainly is beauty in sparseness and simplicity but that doesn’t always make for great theater. Under Kate Valk’s direction, the piece seems somewhat purpose-less, uninspired, and frankly, rather dull. While I admire the focus and concentration that it takes to pull this off, I couldn’t help but wish they were interpreting the Bangles 1985 album “Different Light.” If anyone needs me, I’ll be at home with my walkman singing along to “Walk Like An Egyptian.”

Early Shaker Spirituals runs through June 15th at 33 Wooster Street. All tickets are $25 and can be purchased at http://www.brownpapertickets.com/event/634543.

Theater Review: “Forbidden Broadway Comes Out Swinging”

by Ryan Leeds

In January 1982, a struggling performer by the name of Gerard Alessandrini decided to rally a few of his close friends to mount a cabaret show. It ran for two nights on West 72nd Street’s at the now closed Palsson’s Supper Club. Soon, it became the toast of the town and has reinvented itself over the past 32 years, mocking and making parody of the Great White Way.

Its latest installment, Forbidden Broadway Comes Out Swinging is keeping audiences rolling in the aisles with laughter at midtown’s Davenport Theatre. The super talented cast of Carter Calvert, Scott Richard Foster, Mia Gentile, and Marcus Stevens work their way hysterically through Broadway’s lastest offerings including Pippin, Matilda, Rocky, Bullets Over Broadway, and to quote Foster as Alan Cumming, “the revival of the revival of the revival of Cabaret! ” Each of the four cast members blast their victims with equal parts hyperbole and accuracy and the humor is dispensed all in good fun. A nod to the rebooted Les Miserables is particularly hilarious as Foster and Stevens confront each other, starring as Jean Valjean and Javert. Both Frenchmen duke it out, all the while getting upstaged by a croissant. Trust me. You’ll never consider scenic design in the same way again. Gentile’s riff on Idina Menzel’s lack of subtle technique is comic heaven, but make no mistake- behind the lampoon shines an impressive vocal range. Calvert turns Bridges of Madison County’s leading lady Francesca on her ear with an obviously feigned Italian accent. When asked if she lives alone, she replies, “Goodness No! I live here with my two children and Sutton Foster’s brother, what’s-his- name.”

This is just a small sampling of the lunacy that exists within this latest version of an extremely funny franchise. The fresh and witty offering is conducted and played by David Caldwell, who makes the piano sound like a full orchestra. Worried that you’ve not seen all the shows they’re spoofing? Fear not. You’ll still laugh out loud and have a wonderful time. Although the humor is more easily understood by adults, it is still suitable for family viewing-at half the cost than some other overly commercial fare.

Forbidden Broadway Comes Out Swinging is now playing off Broadway at the Davenport Theatre, 354 W. 45th street between 8th and 9th avenue. Tickets available online at www.telecharge.com, by phone at 212-239-6200, or in person two hours prior to curtain at the box office.

Theater Reviews: “Cherry Smoke” and “The Fabulous Miss Marie”

by Ryan Leeds

Cherry Smoke. Photo Courtesy of Michael Blase.

Working Theater continues their commitment to “theater for and about working people” with their recent production of James McManus’ Cherry Smoke. Set in a steel mill in Western Pennsylvania, it portrays four downtrodden teens, desperate for fortune to smile upon them, but faced with the cruel reality of inevitable failure. Vayu O’ Donnell is mesmerizing as Fish, a young boxer whose innate rage clouds his intentions and decisions- some of which lead to criminal activity. Yet for all of his rage and anger, O’Donnell’s portryal is earnest and sympathetic. Cherry (Molly Carden) is his bright eyed girfriend, vowing committment to him in spite of her reservations. Neither of them were raised in the best circumstances, having suffered mental and physical abuse. Fish’s brother Duffy (Patrick Carroll) is a struggling mechanic trying to provide for himself and his girlfriend, Bug (Julie Jesneck). While the play has no comedic levity, it provides skilled actors playing rounded, heartfelt characters you’ll want to care about.Working Theater once again has produced a solid work about the durability and fragility of the human experience. Cherry Smoke closed on May 18th. For more information about Working Theater, visit http://www.theworkingtheater.org.

The Fabulous Miss Marie. Photo Courtesy of Gerry Goldstein

Woodie King, Jr’s New Federal Theater gave life to Ed Bullins’ The Fabulous Miss Marie, but for all intents and purposes, this could have remained shelved. Three time Tony Award nominee Tonya Pinkins stars as Marie, a boozy socialite who is fond of scotch and swingin’, along with her husband Bill (Roscoe Orman, Gordon on TV’s Sesame Street ). It opens with the couple and their friends tipping back a few and watching a low grade pornographic film. It doesn’t improve. Bill attempts to seduce his own niece, Ruth (Toccarra Cash) who later delivers a rambling monologue and shows us how she can chug an entire bottle of beer in one shot. Press notes state that the action takes place over the course of a weekend in nights preceding the Watts Riot. Taking that into consideration, one might think that race issues would be prevalent, but the only reference to this are from two caricatures, Steve (Ugo Chukwu) and Gafney (Beethovan Oden), who yell clichéd lines about black power and vigilance. Otherwise, It could have easily taken place on Arbor Day in Poughkeepsie on a random Tuesday. Fortunately, audiences need only suffer 90 intermission-less minutes of this incoherence but after 30 of them, you might wish to ask Orman how to get to Sesame Street or better yet -to the closet exit. To steal a line from my guest who attended: “The Fabulous Miss Marie was anything but!” How right she was. It closed on May 18th. For more information about New Federal Theater, visit http://www.newfederaltheatre.com.

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